Kaatayra

The sound of nature is metal. Or does metal sound natural?

Kaatayra thinks both are true, and self evident. The Brazilian one man dynamo had released a slate of albums that tap into the harsh history of black metal, tempered with acoustic instruments. This isn’t to say his releases aren’t thrashing, pummeling tunes—they certainly are—but there’s a sense of self-reflection and meditation in each one.

And Kaatayra has reached a place of zen with his newest album. Inpariquipê layers inspiration from minimalist composers to craft a hypnotic, entrancing album as beautiful as it is ferocious. It is one of the most stunning statements in metal, or any genre, of this young decade. And we chatted with Kaatayra over email:

You've spoken about the influence of Gas and his album Pop. Did you feel a similar spirit in that record; trying to represent music through nature?

Pop is one of my favorite releases of ambient techno, it influenced more directly on a track of Kaatayra's first album that I tried to emulate a synth sound that Gas uses.
About the more abstract thing of how to feel the album, I really never related it so much with nature even though it is a main subject of the album. Pop impressed me more in the technical aspects and because of its originality. So I can't say I feel a similar spirit because it never occurred to me.

This album has an expansion of sonic palette and instruments. Did you find that expansion of new instruments to be fun or challenging? Or both?

Both. It is very satisfying for me to explore other instruments. But I think I would say that to sound in general. Be it being made by an actual instrument like a soft pleasant sound a Marimba can produce or a granular harsh noise of a synthesizer.

The production in this album is wonderful, the percussion scratches at the ears and nothing is muddy or washed out. Was that an important goal in the mixing and mastering?

Definitely it was an important goal because I wanted the unusual instruments that I was not used to mix to blend well together with all other usual instruments with no sound standing out.

I also wanted that in the moments that are happening a lot of things one could listen to each instrument in a balanced way if paying close attention. I'm very satisfied with the result but every time I listen to the album it comes to my mind that I would change a lot of things in the mix but also on the composition.

We don’t get a screamed vocal until the second song. What made you introduce the album in a calmer way as opposed to your other records?

”Tiquindê," probably my favorite song, is a long intro to the album and also the track that represents all the ideas and feelings that emerged in me in the beginning of idealizing this music.

It is meant to be the time invested to prepare the terrain of the rest of the album. I didn't think in adjectives of being calm or aggressive, those words were not wandering in my mind at the time. “Tiquindê” is very focused on rhythm and repetition. I think it created a trance-like aspect where you can find it in many minimalistic works.

You open the album by speaking a word before the music comes in. What was your intention for the listener there?

It is Jorge Ben Jor's voice. He begins his album "Tábua de Esmeralda" with this greeting: "Salve." I always thought it was a very cool way to begin an album. It is like a shout-out to the listener that put the record to play. I sampled his voice and did the same with this intention.

What do the song titles mean?

The words used were invented just for the phonetics, running away from meaning.

So... it means nothing.

Fantasizing about the words existing only to be sung and because of its sound was an attempt to overcome my obsession with linguistics. I see it as a playful thing to do.
In a way the album is an instrumental one and the words not having meaning is what the album is about, if that makes sense.

What does your studio look like?

I don't own a proper studio but I have the typical home-studio setup with monitors, audio interface, midi controller, microphones.

You had said this was a more constructive and less improvisational record. Did the increase in instruments necessitate that, or was it something else?

I think it was because of a general excitement about music theory that I was experiencing. For years I always put music theory aside and had no interest whatsoever.
But last year and the previous, after seeing videos of works that I like, mostly by minimalism composers, being analyzed from the perspective of music theory,
I was enchanted by the mathematical and rational aspect of making something to sound good within the subjective context that is inserted.

So I wanted to make this album by rationalizing the songwriting, putting any theory I could grasp and learn behind the songs. Maybe it was a way of challenging myself or forcing myself to do something different, I'm not sure.

But I studied some specific things and tried to use them in the compositions. Arvo Pärt was very influential after I learnt that he invented a compositional technique called "Tintinnabuli." I tried to use his techniques in some parts and other compositional techniques from other composers as well.

On the title track, the build up is broken by a brief section of bird song. What compelled you to include that? Is that live recorded birdsong?

To answer in a childish way in the best sense of the word: I wanted the little bird to sing along with me in the song.

Everything I'm singing and screaming along the album has no meaning. It's just for the sake of the sounds equal to the birdsong for humans that don't play a part on the birds singing communication.

So I thought it might be nice to have that break with a whistle inserted before the insertion of a new note in the harmony. It is a live recorded birdsong but I wasn't the one who recorded it.

What personal and musical connection do you feel to the indigenous residents of the Amazon and the struggles they currently have?

It is important to remember that most of the indigenous lands are in the Amazon but there are also other regions spread throughout Brazil.

Marlui Miranda's work with her study of indigenous culture and music is the most direct musical reference I have.

People need to be clarified about the struggle of indigenous peoples, who are the native peoples here, know their issues and do what they can to contribute. It's what I think is fair and right and my personal connection is there I would say.

This album feels more rhythmically focused than melodically focused. Did that come from the increased inclusion of instruments like xylophone?

I don't feel that the album is more focused on rhythm than melody. What happens is that there are several percussion instruments typical of Brazilian music that are part of the album. An element I used to fill and create more dynamics and strength for the album. The xylophone is interesting because of its fast attack. It is an instrument with a strong rhythmic aspect but at the same time it is possible to create harmony and melody. I think it combined well with the purpose of Inpariquipê.

How much inspiration did you take from minimalists like Steve Reich, Arvo Part, Philip Glass?

A lot of inspiration, those 3 along with Uakti and Terry Riley were constantly on my headphones. The interest in minimalistic music emerged together with my interest in musical theory. A lot of riffs and time signatures used on the album was directly influenced by minimalistic music.

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